The Most Important Filmmaker You Haven't Heard Of 

“if you do too much people get dependent on you. And if you do nothing, they lose hope…when you do things right, people won’t be sure you’ve done anything at all.”

I recently watched Mauvais Sang and the editing is some of the most energetic and compelling I’ve ever seen. It give the film a dynamic rhythm and stylistic presence that I’ve seen employed in other films but none has had the same impact.

“It's like a plumber: do your job right and nobody should notice. But when you fuck it up, everything gets full of shit.”

Must be why Bohemian Rapsody got noticed so much

True

I was scrolling the comment section looking for someone mentioning that movie!

Thought I heard she had no experience on top of all that, but her Wikipedia says her work goes back at least as far as "Babe: Pig in the City"

When asked why he chose his wife to edit his film, Miller observed that she had never cut an action movie before, and that if it were to be edited by "the usual kind of guys, it would look like every other action movie we see."

Whiplash... really? Hhhhh.... no offense, but you need more culture and shut it a little (no offense to Margaret Sixel, though)

parasite is overrated

Exactly what I thought too.

Same.

I'm surprised you've heard of John Hughes. He's pretty indie

you all realise that was clearly intentional right you're not sharing in a quirky coincidence of misinterpretation, just got collectively duped

😂 yes! It got us all good sir 🧐

I think he's the closest out there to the quality of Every Frame a Painting. His essays actually convince you and he makes interesting, original points

over-analyses* 😊👍

I wonder at whom are you trowing shade at?

i feel the exact same way!

@@kostajovanovic3711 I think it's just general shade. There are a ton of great channels, but it sometimes feels like the same things are talked about too often. It's nice to see something that isn't covered all that much.

I had no idea that's awful! I loved django, havent seen hateful eight and didnt like Once Upon a Time that much

@@cannonfodder4000 I love Django too, but I'm sure that a lot of people can agree that the final act is almost two acts bolted together. Once Upon is good, but I think could really benefit from some trimming, and Hateful 8 is 33-50% lard. I think that knowing Menke would be reviewing Tarantino's work at the end of the process made him get to the point faster, and focus on what mattered. And it's not like she was cut-happy. She edited Jackie Brown, which actually needs to be as long as it is.

arguebly, he'd already learned by that time. The last 3 Tarantino's aren't weaker than any previous. The editing for "Hateful 8", aren't worse than any of the lesser examples of pacing prior. I was worried when Menke died, but most of Tarantino's best scenes are usually the absolute longest ones. "Once upon..." has brilliant lengthy editing. Chances are, he wasn't wrong about the diner scene in "Pulp Fiction" either. I have no idea on what basis the above essay argues the combative nature of Menke/Tarantino. Seems to me it was Tarantino's brillance that properly recognized the talent of Menke combined with his work, and not the other way around.

I didn't love any of his films from inglorious basterds to the hateful eight. But I absolutely loved Once upon a time, it had something that was missing in the others. I really can't say what though, need a rewatch and to think about it.

She must've been one of the only people who could keep the reins on Tarantino, and now he has no one to convince him to hold back.

Breaking Bad had Skip Macdonald as its main editor

Lucestre eh not exactly she mainly worked on the final dogfight on the Death Star, it was mainly Paul Hirsch and Richard Chew who worked with George Lucas to re-edit practically every major scene from a new hope

At 8:39 would have been an appropriate moment for that

@@quietdemon8138 I believe you, but including her impact on the film would have fit the video well nonetheless!

@@quietdemon8138 To have invented a completely new narrative without any new shots is still a helluva achievement. And without the epic Death Star battle at the end, the film wouldn't have been so iconic.

Vancity Band completely agree all 3 editors combined their strengths and imo were instrumental in making the movie a phenomenal success and along with George’s directing and story writing, John Williams’ music and the actors making the unbelievable as plausible as possible made the movie go beyond what people expected it to

I have a problem, I saw the word tenet and giggled in excitement

I loooooved Marriage Story's editing! Didn't know she also edited Tenet and now I'm more excited.

She didn’t invent the J-Cut, and in fairness to NYSI, he never actually worded it that way. He made the assertion that she made it a Hollywood standard. The J-Cut was used at least as far back as Godard’s À Bout de Souffle. While Dede Allen was a phenomenal editor, it it clear that she, like many of her era, was influenced heavily by the French New Wave, and made a career from refining the techniques introduced by those films. Important to note is that À Bout de Souffle was edited by Cécile Decugis. I can't say if she was the first to employ the J-Cut, or how much of a role was played by Godard in the editing suite. Certainly most conversations about the editing decisions of that movie centre around Godard's choices, but it's possible that it's another example of overlooking the creative role of the editor.

@@colinjudge1261 I always thought Citizen Kane already used J-Cuts? I'm not sure though.

It could well be! I’d imagine it was used quite often, sometimes out of necessity rather than creative choice. If there was no appropriate audio for one shot, just start the audio from the next shot early. Also, plenty of early films used fade transitions. At what point in the transition does it count as a J or L cut? A matter for scholars, I suppose...

@@colinjudge1261 I don't know how much reliable is this, but it's on imdb's trivia and could be an indicative answer: According to Jean-Pierre Melville, Godard asked him for consultation during the post-production stage because the first edit was too long for distribution. Melville suggested Godard remove all scenes that slowed down the action (his own turn as novelist Parvulesco included). But instead of excluding entire scenes, Godard cut little bits from here and there. This led to the "jump cut" technique this movie introduced. Melville declared the result to be excellent.

I'm sorry? I did not see one mention OR demonstration of the J-Cut here. I might have missed it, but I do see that she invented that "abrupt skip".

I didn't realize it was an ad transition until it was well into the actual ad.

You might say he has a good editor.

You must watch it!

ive watched it recently for the preparation of another video essay. oh man, it's a great film!

Then read the book "Pictures at a Revolution" by Mark Harris about that movie and New Hollywood. It's a book that proves reality is stranger than fiction.

Bring a strong drink

I haven't see it but Now You See It also has a video about it too which is good as well.

Scorsese’s films Are so masterfully edited.

Yes

"Every Frame a Painting" not film...

I think he doesn't get enough love. So many people really overlooked Planet Terror which is just such a great, ridiculous film. He also brought us Sharkboy and Lava Girl which are some pretty fun and creative kids movies. He's got a really great style.

This is real sweet. Thank you, you too

Here's more film history: womenfilmeditors.princeton.edu/

That should be required viewing for all star wars fans. Without the edit, a new hope would have been like the prequels. Likewise, the prequels could have been saved in the edit, see belated media's "what if star wars episode I were good?"